Dying Sun: ‘DoomsdayCometh’ Album Review

What would happen if Monster Magnet mixed a few shots of Doom and Punk into its sound?

That seems to be the answer Dying Sun answers in DoomsdayCometh, the band’s debut EP. Vocalist and guitarist Matt D. channels the laid-back delivery of Monster Magnet’s Dave Wyndorf, while he and the rest of the band deliver a custom Doom-Punk recipe that has all of the Pop accessibility of Powertrip (Monster Magnet’s 1998 album). 

While the Monster Magnet connections are obvious, we’re also reminded of one of Monster Riff’s very first reviews—a recap of Greenhaven’s 2005 The Last Powerful Second. As we pointed out in that review, nothing about The Last Powerful Second’s composition was complex, but it was fun. 

Much of DoomsdayCometh follows the same course. Instead of wrapping Doom in the fuzzy darkness of bands like Electric Wizard, Dying Sun delivers a certain consumer-friendly appeal to their sound that should make the high points of their debut album extremely accessible. 

About Dying Sun

Dying Sun hails from Maleny, Australia, a small town near the eastern coast, sitting about 100 kilometers (62 miles) north of Brisbane. 

The band is:

Matt D – Vocals, Guitar
Damon – Bass, Guitar, Backing Vocals
Anthony Dwyer – Drums

DoomsdayCometh Album Review

Tracks: 12
Length: 40:52

Track One: Intro

“Intro” is, as you would expect, not very complex. It does feature a cool riff, and it would make a worthy introduction to any song on the album.

Track Two: Suicide Ride

On “Suicide Ride,” the Monster Magnet vibes become immediately apparent. Carried by frantic guitar work and energetic vocals, Dying Sun delivers the entire track in under two minutes—and it might be enough to remind you of “Powertrip.” 

Track Three: Serpent Rising

With “Serpent Rising,” we get our first taste of Dying Sun’s brand of Doom. 

Now, most Doom Metal features big, sustained riffs (similar to Drone), but the tone here is completely different. Sure, Dying Sun uses overdrive, but there’s not enough fuzz and bass to fall head-first into your typical Doom category. Because of that clear distinction, Dying Sun straddles the line between Hard Rock and Doom—and even adds in a touch of Punk. 

Interestingly, Dying Sun abandons the Doom tendencies about halfway through the song, regaining the guitar love that made “Suicide Ride” so catchy—before diving back into Doom a minute later. 

Track Four: Forked Tongue Devil

Another heavy track delivered at high speeds, “Forked Tongue Devil” offers a buffet of layered vocals that, at times, sound a bit like Danko Jones. Thanks to its heavy propulsion, “Forked Tongue Devil” is even, at times, anthemic.

Track Five: Fall to Ashes

Delivered on a slab of Doom, “Fall to Ashes” calls to mind old Black Sabbath in its intro—until the vocals kick in. Like the Devil rising out of the ground, “Fall to Ashes” pounds away, driving home each and every note. Here, Dying Sun leans heavier into the classic Doom territory than they do on “Serpent Rising,” but it’s still undeniably their own brand. 

Track Six: Deepest Winter

“Deepest Winter” takes its time to get moving, relying on deliberate drums and bass to move the song forward until a guitar appears and rides forward, setting the stage for the rest of the song. Unlike most of the tracks on this album, “Deepest Winter” is exploratory, delivering a mostly-instrumental experience. At times haunting and terrifying, this track is one of Dying Sun’s best Black Sabbath impressions. 

Track Seven: Feel the Need

Another brief track, “Feel the Need” opens with a squealing guitar solo. This song moves quickly, but it has everything you’d ever want in a Hard Rock song: catchy guitars, layered vocals, and breakneck speeds. 

Track Eight: A Wake At Dawn

“A Wake At Dawn” is another quick track, but it’s purpose is mostly utilitarian—this is an instrumental interlude track with steady bass and drums (and showcases hints of “Ego, the Living Planet”—another early Monster Magnet song).

Track Nine: Psycho Junkie

Another catchy and fast-paced tune, “Psycho Junkie” tells the story of serial killer groupies—something that makes the ninth track especially engaging.

Track Ten: God of War

Fittingly, “God of War” opens to a siren and marching, setting the stage for massive riffs boiling over with brimstone and destruction. While a primarily slower track, the band picks up the pace for the chorus. 

Track Eleven: DoomsdayCometh

“I am here,” the vocalist growls in the opening moments to the title track, a nod to Black Sabbath’s “Iron Man” and also, according to the band, to Satan walking the earth. While the majority of “DoomsdayCometh” features Dying Sun’s version of Doom and Drone, the song concludes on their blistering-fast brand of Hard Rock. 

Track Twelve: Freedoms Death

“Freedoms Death” isn’t quite heavy enough to be Doom, so it’s more of a slower Stoner Rock song. The song only seems to grow darker as it moves on. To get an idea of its sound, imagine a combination of Metallica and Monster Magnet.

Final Thoughts

Score: 7/10

Standout Tracks: “Suicide Ride” and “Psycho Junkie”

Pros: On their best tracks, Dying Sun can rock with the best of them. Songs like “Suicide Ride” show they write catchy, radio-friendly tunes, and songs like “Deepest Winter” show they’ve studied the genre’s heroes well enough to authentically replicate them with a new twist. 

Cons: Dying Sun’s best tracks are over as soon as they begin, lasting less than two minutes—but that’s only the beginning of the album’s dichotomy. 

In some ways, Dying Sun is two different bands. One of them plays fast-paced, catchy Hard Rock, while the other band performs a unique version of Doom. The difference can be jarring if you’re unprepared. 

In the end, whether or not you like the entirety of DoomsdayCometh ultimately depends on your appetite for that specific brand of Doom.